The horror movies 2025 calendar for the second half of the year delivers reboots, chilling originals, and the return of fan-favorite franchises
2025’s opening act has been rather anemic for horror devotees craving their theatrical fix—a stark contrast to the genre’s last years box office rulings. The early months delivered only a handful of offerings: James Wan’s The Monkey, gaming’s crossover Until Dawn, Indonesia’s atmospheric Dark Nuns, Blumhouse’s Drop, the terrifier-ish slasher movie Popoyee: The Slayer Man, and the critically acclaimed Companion.
Yet, one film—Ryan Coogler’s Sinners—has been methodically dismantling box office records, securing its position as the rare horror film that can pay its way in Hollywood’s increasingly risk-averse landscape. The film’s third-week hold is nothing short of supernatural, achieving the highest collection for any horror title at that point in its run—a feat that demands respect even from those who prefer their scares served with a side of critical acclaim.
But here’s where the 2025 Horror movies calander truly blossoms. The second half of 2025 unfolds like a masterclass in atmospheric tension, with each release building upon the last in a carefully orchestrated symphony of scares. Leading the charge is the resurrection of Final Destination. What follows is a veritable buffet of dread: exorcisms and haunted relics that resurrect ancient evils, folk horror rooted in grief and rituals gone wrong, slashers making nostalgic comebacks, and creature features where nature fights back—usually with fangs. Techno-horrors explore our unease with artificial intelligence, while psychological thrillers dig deep into fractured relationships and moral collapse. Toss in a few post-apocalyptic outbreaks and cursed phone lines, and you’ve got a horror calendar that doesn’t just aim to scare—it wants to reflect the chaos of the times we’re living in. The year may have started with a slow-burning dread of its own, but by December, we’ll all be checking our closets and maybe, just maybe, sleeping with the lights on.
Here’s a look at the horror movies set to grace the remainder of 2025:
Sub-Genre: Supernatural/Franchise Horror
Release Date: 15 May, 2025
The death-defying franchise returns with a twisted family-centric story, as fate targets the descendants of past survivors—because apparently, death holds a grudge.
Sub-Genre: Possession/Emotional Horror
Release Date: 29 May, 2025
Directed by the breakout duo behind Talk to Me, this grief-soaked nightmare promises raw emotion, brutal tension, and a chilling descent into the afterlife’s darkest corners.
Sub-Genre: Post-Apocalyptic/Infected Horror
Release Date: 19 June,2025
Danny Boyle returns to the franchise he helped define, with 28 Years Later set to unleash a new generation of rage and redefine modern horror all over again.
Sub-Genre: Tech Horror
Release Date: 26 June,2025
Is she still a menace or now a misunderstood machine? The sequel blurs the line between horror and sci-fi action, as M3GAN upgrades—morally and mechanically.
Sub-Genre: Slasher/Requel
Release Date: 17 July 2025
The ‘90s slasher staple gets a modern revamp, reuniting original cast members with a new generation caught in the killer’s hook-line trap.
Sub-Genre: Psychological Horror/Relationship Thriller
Release Date: 30 July, 2025
A twisted tale of love, obsession, and unraveling minds, this original horror entry explores what happens when codependency turns truly monstrous.
Sub-Genre: Supernatural/Exorcism Horror
Release Date: 4 September, 2025
The Warrens return for one final case in this climactic chapter of the Conjuring universe, promising a farewell soaked in holy water and pure dread.
Sub-Genre: Psychological/Supernatural Horror
Release Date: 18 September 2025
Jordan Peele’s involvement guarantees a deep psychological thriller that’s bound to haunt you long after the credits roll.
Sub-Genre: Torture/Slasher Horror
Release Date: September 27, 2025
The legacy of Jigsaw continues with a fresh set of traps and moral tests, proving once again that the game is far from over.
Sub-Genre: Supernatural/Thriller
Release Date: 16 October,2025
Ethan Hawke returns in this eerie sequel that dives deeper into the ghostly voices beyond the line—because some calls should never be answered.
Sub-Genre: Sci-Fi Horror/Creature Feature
Release Date: 6 November,2025
Set in a desolate frontier town, this chapter strips the tech and turns primal, delivering a raw, survivalist showdown with the galaxy’s deadliest hunter.
Sub-Genre: Animatronic/Survival Horror
Release Date: 4 December 2025
The cult video game adaptation returns with even more twisted animatronics and deeper lore—because one night was never going to be enough.
Sub-Genre: Creature Horror/Nature Survival
Release Date: 25 December, 2025
The legendary snake slithers back onto the big screen in a high-stakes reboot that promises bigger thrills, bloodier hunts, and a whole lot more hiss.
Sources: Rotten Tomatoes, IMDb, Cinemblend
The Saudi Box Office demonstrated remarkable resilience in April 2025, generating SAR113.1 million in revenue with local production ‘Shabab EL Bomb’ capturing 20% market share
The Saudi cinema market demonstrated remarkable resilience in April 2025, generating SAR113.1 million in total box office revenue despite typical post-holiday adjustments, according to the latest data released by the Ministry of Culture. This performance culminated in strong upward momentum, with the final week recording SAR21.4 million in revenue—a 26.6% increase from the previous week, signaling sustained consumer engagement across the cinema exhibition sector.
According to Gower Street Analytics, this acceleration aligns with the international box office (excluding China), which recorded the highest grossing month since December 2024 ($2.8 billion) with an April total of $2.1 billion—representing a 36% increase over April last year. Internationally, ‘Minecraft Movie’ and ‘Sinners’ powered the box office where there were still gaps expected to be filled in May with a denser, IP-driven, high-profile, and diverse schedule. However, the Saudi market demonstrated a distinctive strength by filling these same programming gaps with regional content, as evidenced by the exceptional performance of multiple Arabic productions.
This regional content advantage is exemplified by the Saudi production ‘Shabab EL Bomb 2,’ which emerged as the undisputed market leader, maintaining the top position for three consecutive weeks and amassing SAR 24.9 million across 537,300 admissions. This single title accounted for over 20% of the month’s total box office revenue, highlighting the growing influence and commercial viability of regional content within the Saudi cinema ecosystem.
Ministry data reveals a classic market recovery pattern throughout April, with weekly revenue stabilizing after an exceptionally strong start. The month began with SAR39.6 million during the week of March 30-April 5 (Eid Al-Fitr holidays), before adjusting to SAR 19.7 million in the second week. This adjustment phase subsequently gave way to a period of steady improvement, with revenues ultimately climbing to SAR 21.4 million in the closing week of April 27-May 3.
The Hollywood action thriller ‘A Working Man’ also delivered a strong performance with SAR 17.4 million and 318,200 admissions, reinforcing the region’s demonstrated preference for international action titles. ‘A Minecraft Movie’ established a solid franchise foundation with SAR 17.3 million across 361,800 admissions over five weeks, highlighting the market’s expanding capacity to sustain diverse content simultaneously.
Several releases exhibited notable growth patterns worth examining. ‘Asaf’ demonstrated consistent week-over-week box office increases, culminating in SAR 7.9 million from 152,300 admissions. Illustrating the effectiveness of strategic release planning in the Saudi market, ‘Siko Siko’ implemented an effective slow-build distribution strategy, starting modestly before gaining significant market traction in its second week to reach SAR 5.0 million from 90,700 admissions.
Marvel’s ‘Thunderbolts’ entered the market in the final week of April with SAR 3.4 million from 55,400 admissions, with industry projections suggesting continued momentum based on strong critical reception and established franchise appeal.
Data from Motivate Val Morgan’s proprietary cinema intelligence platform for advertisers CineMeasure reveals substantial audience engagement across our circuit, with 1.81 million admissions recorded between March 27 and April 30 2025. This audience represents premium consumer segments with demonstrated purchasing power and heightened brand receptivity within the distraction-free cinema environment.
Our detailed analytics identify significant opportunities within premium viewing experiences, which continue gaining substantial market share. Luxury screens accounted for 8% of total admissions, providing brands unprecedented access to high-net-worth consumers in receptive environments. Further enhancing this premium segment, experience formats such as IMAX and Dolby contributed 14% of admissions—collectively catering to diverse tiers of already-affluent moviegoers. All of these create targeted engagement opportunities for precision marketing initiatives.
The established box office trajectory, combined with the acceleration potential of both Eid al-Adha and the subsequent summer blockbuster calendar, creates unprecedented opportunities for brands seeking meaningful consumer engagement in an increasingly fragmented media landscape.
The regional exhibition sector including Saudi is poised to enter its most commercially productive period of 2025. This critical revenue window begins with Eid al-Adha celebrations in early June—historically generating 2.5-3x normal weekly admissions—and continues through the summer months with a strategically diversified content pipeline.
The seasonal slate balances culturally-relevant Arabic productions including ‘Restart,’ ‘F1,’ ‘Ahmed W Ahmed,’ and ‘Darwish’ with tentpole Hollywood franchise entries such as ‘Mission: Impossible – The Final Reckoning,’ ’28 Years Later,’ ‘Superman ‘Jurassic World Rebirth’ and more—creating multiple strategic entry points for targeted advertising initiatives.
This powerful convergence of holiday timing, premium audience demographics, and diversified content offerings positions the Saudi and regional cinema market for exceptional growth through Q2-Q3 2025. The guaranteed audience concentration during these peak periods reinforces cinema’s status as the region’s dominant exhibition platform and an advertising medium that never misses its audience.
Sources: Saudi Ministry of Culture, CinePlan and CineMeasure
A recent WARC article discusses a conversation featuring advertising legend Sir John Hegarty on The Multiplier Effect report – produced through collaboration between WARC, System1, BERA.ai, Prophet, and Analytic Partners – about the kind of advertising that makes performance marketing truly effective. The discussion delivered compelling evidence that challenges contemporary marketing wisdom.
The research spells out the dangers of advertisers focusing solely on performance advertising. The findings reveal that advertisers balancing brand-building with performance marketing achieve a remarkable 90% higher revenue ROI than their performance-only counterparts. More alarming still, brands focusing exclusively on performance tactics suffer a 40% decrease in ROI—what researchers aptly term the “performance penalty.”
Hegarty, the creative visionary behind countless iconic campaigns, frames this balance through two distinct approaches: “Showmanship” and “Salesmanship.” This terminology brilliantly clarifies the role each plays in effective marketing. He ties this to neuropsychological findings, particularly the work of Iain McGilchrist on attention modes. Showmanship captures what McGilchrist calls “broad-beam attention” through the right hemisphere of the brain—the part processing narrative, metaphor, and social context, remaining open to novelty and the unexpected.
Salesmanship, in contrast, mirrors the “narrow-beam” preferences of the left hemisphere—focusing on specific targets, details, and goals. It speaks to consumers already moving toward purchase, pushing them toward certainty. While both attention modes are essential, they function through fundamentally different neural pathways.
In short, the report reveals a critical insight often overlooked in today’s metrics-obsessed marketing landscape: at any given moment, only 5% of your audience is actively considering a purchase. Performance marketing effectively targets this 5%, but remains virtually invisible to the other 95%. Without Showmanship creating emotional connections with this broader audience, brands essentially sever their future customer pipeline. As Hegarty memorably puts it, “You can’t buy something you’ve never heard of.”
Within a balanced marketing strategy, cinema offers a particularly powerful channel for the Showmanship aspect that Hegarty identifies as critical. The theatrical environment of cinema creates a rare and powerful space in today’s fragmented media landscape—one perfectly calibrated to activate the right brain’s broad-beam attention that drives long-term brand building.
When audiences enter a cinema, they’re not just watching content—they’re experiencing a performance. The darkened theater, commanding screen, and immersive sound create an environment where advertising reaches consumers without the competition of scrolling, skipping, or multitasking. This captive attention allows brands to tell emotional stories that forge mental connections impossible to achieve through many other channels.
Cinema advertising excels precisely at what Hegarty identifies as essential for effective Showmanship: getting brands “noticed, liked and remembered.” The big screen naturally amplifies creativity that drives cultural relevance—another key factor The Multiplier Effect identifies for sustained growth.
What makes cinema particularly valuable as part of today’s marketing ecosystem is its ability to complement performance-focused channels. Through its immersive theatrical experience, cinema powerfully connects with the crucial 95% of consumers not actively in the buying window. Yet unlike some traditional brand-building channels, modern cinema also offers sophisticated accountability and measurement capabilities that satisfy performance-minded marketers.
By incorporating cinema’s distinctive Showmanship capabilities into a balanced marketing strategy, brands can help escape the ‘performance doom loop’ identified in this WARC report. In a marketing landscape that requires both short-term results and long-term brand building, cinema offers a powerful stage where brands can create the emotional connections and mental availability that make all future marketing more effective.
Read the full article on WARC (membership required)
Sixteen UAE jury members will collaborate closely with awarding jurors from across the globe to recognize and honor outstanding creative work at the 2025 Cannes Lions Festival of Creativity
Cannes Lions has unveiled the cohort of global experts selected to award the world’s finest creative and effective work, setting the standard for excellence this June at the Cannes Lions Festival of Creativity. Among the distinguished jury members announced, this year will feature sixteen representatives from the United Arab Emirates, marking the nation’s strongest representation ever at the industry’s most celebrated awards.
The 72nd edition of Cannes Lions, running from June 16 to 20, 2025, will showcase the UAE’s growing influence on the global creative stage as these exceptional professionals prepare to set new benchmarks for excellence during the Festival.
Commenting on the Jury, Simon Cook, CEO of LIONS, said: “The Cannes Lions Awarding Jury plays a vital role in setting the global benchmark for creative excellence. This year’s line-up brings together some of the most highly respected and accomplished industry talent from around the world. Their expertise will help define the creative standards that continue to drive our industry forward and spotlight the power of creativity as a catalyst for meaningful business growth and transformation.“
Regarding the record UAE representation, Ian Fairservice, Managing Partner of Motivate Media Group, said, “Having our largest-ever UAE representation on the Cannes Lions awarding jury is a remarkable achievement for our creative community. I am sure their diverse expertise will make a significant contribution to the global creative dialogue. Their selection reflects the UAE’s growing influence and our commitment to excellence, and demonstrates the creative caliber and thought leadership emerging from this region on the international stage.”
Audio & Radio Lions:
Leila Katrib | Global Executive Creative Director, Incubeta, Global
Brand Experience & Activation Lions:
Natalie Shardan | Managing Partner, Serviceplan Middle East, UAE
Creative Business Transformation Lions:
Fabio Silveira | Managing Director, Havas, Middle East
Creative Data Lions:
Karim ElFiqi | SVP and Chief Marketing Officer, PepsiCo, Africa, Middle East, and South Asia
Creative Effectiveness Lions:
Dani Richa | Group Chairman, Impact BBDO, UAE
Design Lions:
Dida Atassi | Managing Director, Creative Account Lead for Design & Digital Products, Accenture Song, UAE
Digital Craft Lions:
Paulo Engler | Senior Creative Director and Head of Art, FP7 McCann, UAE
Direct Lions:
Aricio Fortes | Chief Creative Officer, VML, UAE
Film Lions:
Manasvi Gosalia | Executive Producer, Dejavu, UAE
Health & Wellness Lions:
João Camacho | Executive Creative Director, Saatchi Wellness ME, KSA and Turkey, MEA
Industry Craft Lions:
Lara Assouad | Executive Creative Director, Landor, Middle East
Innovation Lions:
Seyoan Vela | Chief Creative Officer, Livingroom/LRDXB, MENA
Media Lions:
Ramzy Abouchacra | Media Practice President, Dentsu, MENA
Pharma Lions:
Alok Gadkar | CEO and Chief Creative Officer, Tuesday, UAE
PR Lions:
Khaled AlShehhi | Executive Director of Marketing and Communication, UAE Government Media Office, UAE
Sustainable Development Goals Lions:
Vidya Manmohan | Founder and Chief Creative Officer, V4Good, Global
With shortlisting jury line-up to be announced soon, see the full list of Global Presidents and Awarding Juries here.
Further information on this year’s Festival and the Lions Awards can be found at visit www.canneslions.com
Motivate Media Group and Motivate Val Morgan are the official representatives of the Cannes Lions International Festival of Creativity in the UAE.
Source: Cannes Press Release
VOX Cinemas has raised the bar for premium cinema experiences with the launch of the world’s most innovative IMAX® theatre at Mall of the Emirates. This groundbreaking venue combines cutting-edge technology with unparalleled luxury, creating an exceptional environment for brands seeking to connect with high-net-worth individuals in an exciting new setting.
The newly opened IMAX® theatre features the first-ever integration of Ōma Cinema’s patented premium pod seating within an IMAX® space. Designed by acclaimed French architect Pierre Chican, these seven exclusive pods represent a revolutionary approach to cinema architecture, drawing inspiration from traditional theatres with tiered balconies that create a more intimate viewing experience. Each pod accommodates five guests with VOX’s renowned THEATRE amenities – reclining seats, pillows, blankets, and full waiter service delivering gourmet dining options – creating an exclusive atmosphere that appeals to discerning patrons.
The new IMAX® represents a key component of VOX Cinemas’ ongoing transformation at Mall of Emirates, which began with the enhanced THEATRE concept and upgraded Premier standard screens. This evolution continues with forthcoming renovations to the KIDS cinema and social areas.
According to Ignace Lahoud, Chief Executive Officer of Majid Al Futtaim Entertainment, “We’re redefining the cinema experience once again to offer our guests something so exceptional, they’ll want to leave their sofa and experience the magic of cinema like never before.”
” World-class, flagship locations like Mall of Emirates in Dubai showcase the strength of IMAX’s fast-growing presence in the Middle East and our commitment to delivering the best possible moviegoing experience to audiences across the region,” said Rich Gelfond, CEO of IMAX. “IMAX is excited to deepen its partnership with VOX Cinemas and reintroduce Mall of Emirates on the verge of a very promising blockbuster season, and amidst one of our best years ever at the global box office.”
VOX Cinemas’ groundbreaking IMAX® theatre delivers advertisers an unrivaled platform to capture the undivided attention of high-value audiences. By masterfully blending cinematic immersion with tiered luxury THEATRE amenities, the venue creates a premium environment where brand messages achieve maximum impact. This strategic design allows companies to precisely target affluent patrons and HNIs in a state of complete engagement – a rare advantage in today’s fragmented media landscape. For prestige brands seeking meaningful connections with discerning consumers, this represents the ideal setting where sophisticated communication resonates most powerfully.
“This exceptional venue represents a transformative opportunity for our advertising partners,” said Avinash Udeshi, COO of Motivate Val Morgan. “The combination of IMAX’s immersive technology with VOX’s luxury THEATRE concept attracts precisely the discerning audience that premium brands aim to engage. We anticipate unprecedented demand for the limited advertising inventory available in this unique environment.”
Motivate Val Morgan is currently accepting bookings for the limited advertising spots available in this premium venue. Given the exclusive nature of the space and its attraction to affluent audiences, early commitment is recommended for brands wishing to secure premium positioning.
For advertising inquiries, contact our dedicated client services team.
Sources: VOX Press Release
Hollywood’s leading man teams up with a real-life racing legend to deliver a F1 movie that’s as fast and furious as the sport itself – buckle up!
Brad Pitt has never looked cooler. And that’s saying something. In his latest movie, simply titled F1, Pitt steps into the fireproof suit of a retired Formula One driver gunning for redemption — and it’s not just for show. The actor actually trained to drive an F2 car and tore down the straight at Silverstone between real Grand Prix sessions, with real fans in the stands, and actual teams watching from the pit wall.
Directed by Top Gun: Maverick’s Joseph Kosinski and backed by legendary producer Jerry Bruckheimer, F1 is more than just another sports drama—it’s an adrenaline-laced deep dive into the psychological and physical warfare of one of the world’s most elite sports. And if that wasn’t enough fuel, the film is co-produced by seven-time world champion Lewis Hamilton, who brings the insider authenticity only a legend can.
Pitt plays Sonny Hayes, a once-glorious F1 driver whose career fell apart after a brutal crash in the ’90s. Years later, he’s dragged back into the high-speed circus to mentor Joshua Pearce, a rising young star played by Damson Idris, who looks entirely at home in a race suit and sunglasses.
The two drive for a fictional team called APXGP, but everything else is real. The team garages. The pit lane chaos. The politics. The pressure. All of it.
If you’re into stories about comebacks, mentorship, egos, and second chances (and let’s face it, what racing fan isn’t?), this film has your name all over it.
Here’s where it gets wild. F1 was shot during actual Grand Prix weekends. Monza. Silverstone. Hungary. The production worked with Formula 1 to film around live races, with Pitt and Idris driving real cars, on real tracks, in front of actual crowds.
Mercedes built them a custom car. The camera rigs were integrated into the body of the vehicle. There were no green screens, no clever editing tricks — just actors learning to drive 200+ km/h and a director yelling “action” from the pit wall.
And the cars? They sound incredible.
Backing up Pitt and Idris is a stacked lineup: Javier Bardem as the team boss (a kind of moody, motorsport whisperer), Kerry Condon, Tobias Menzies, Sarah Niles, and Kim Bodnia all play roles in and around the APXGP universe.
But let’s be honest — this is a two-man show. Pitt and Idris shoulder the heart of the film, and their chemistry — old dog meets young gun — might be what sells it even more than the V10s and pit stops.
The anticipation for F1 has been turbocharged by the release of several trailers that offer a tantalizing look at the film’s high-octane action and compelling narrative.
These trailers have collectively garnered millions of views across various platforms, reflecting the global excitement surrounding the film. The Super Bowl spot alone reached over 100 million viewers during its broadcast, significantly amplifying the film’s visibility.
Let’s not pretend the Middle East doesn’t have a thing for fast cars. From Abu Dhabi’s Yas Marina to Bahrain’s night races, Formula One has become a full-blown cultural phenomenon in the GCC. This region knows its DRS from its ERS.
So it makes sense that F1 is already building hype here. It’s got global appeal, but it hits different when you’ve actually been to a Grand Prix, or watched Hamilton and Verstappen battle it out under your sky. Add Brad Pitt to the mix, and you’ve got appointment cinema.
If you’re a brand trying to grab attention in a way that actually sticks — here’s your cue.
Movies like F1 aren’t just cultural moments — they’re big, loud, and seen by thousands of eyeballs in a single weekend. And when the lights go down, your ad on that massive screen? That’s not just another impression. That’s impact.
Whether you’re a luxury brand, an automotive player, or just want to be where the action is — cinema advertising puts you on pole position.
Lights out. Let’s go racing. F1 hits theaters June 27.
Want in? Talk to us at Motivate Val Morgan.
Source: The Guardian, Planet F1, GQ, People.com, Apple, Entertainment
Avinash Udeshi, Chief Operating Officer at Motivate Val Morgan, discusses how the record-breaking Eid al-Fitr cinema attendance signals an exceptional summer season ahead, and highlights cinema’s unmatched 2.5x efficiency as an advertising medium that delivers 15% of campaign impact with just 6% of media spend
As we emerge from an extraordinarily successful Eid al-Fitr period, the numbers clearly demonstrate what this means for our industry and the brands we partner with. The statistics are certainly impressive – but behind them lies a deeper story about audience engagement and the enduring power of cinema as a cultural touchpoint.
Our Motivate Val Morgan cinema circuit witnessed an astonishing 1,178,723 admissions across our regional network during the seven-day period from March 27 to April 2, 2025. This week – which included the four-day Eid al-Fitr celebration – delivered a 17% year-over-year increase and stands as our highest-grossing week of 2025 thus far.
Particularly fascinating is the contrast with the preceding week. Admissions skyrocketed by an extraordinary 1,230% compared to the final week of Ramadan (March 20-26). This dramatic “Eid effect” illustrates just how deeply cinema-going is woven into the fabric of regional celebrations.
The performance across GCC markets shows encouraging growth in all territories. The UAE market led with 575,147 admissions — representing a 25.5% increase from Eid al-Fitr 2024 — while Saudi Arabia contributed 416,318 admissions with a 4% year-over-year improvement. Together, these two crucial markets delivered 991,465 admissions, marking a 15.4% growth that reinforces cinema’s position as the preferred leisure activity during festive periods.
This success stems partly from the diversity of content showcased. In the UAE, Malayalam-language L2: Empuraan and Hindi feature Sikandar performed exceptionally alongside global titles like A Working Man and A Minecraft Movie. Meanwhile, Saudi Arabian audiences showed strong preference for Arabic-language productions including Shabab El Bomb 2 and Al Safa Thaanawia, complemented by healthy attendance for international releases..
With cinema attendance already reaching 7.1 million admissions year-to-date across our circuit, Motivate Val Morgan is uniquely positioned to deliver exceptional brand exposure throughout the second quarter. The upcoming Eid al-Adha celebration in early June, combined with the traditional summer blockbuster season, creates a perfect alignment of cultural occasion and premium content releases.
In today’s fragmented media landscape, cinema advertising delivers something increasingly rare: guaranteed viewership in a distraction-free environment.
Kantar’s & Val Morgan’s 2024 Media Reactions study confirms cinema’s exceptional effectiveness – despite receiving only 6% of media spend, it delivers 15% of total campaign impact per person. This 2.5x efficiency ratio consistently outperforms traditional and digital channels. The study also ranks cinema among the highest channels for ad equity among younger audiences, creating a receptive environment wherein advertising resonates deeply.
Particularly valuable is cinema’s ability to reach otherwise missed audiences – with 44% of reach incremental to TV, 31% incremental reach to digital and 18% completely incremental to both TV and digital. This captive audience approach delivers higher brand recall and emotional resonance, with message retention rates of up to 95% on certain campaigns, far surpassing other media channels.
Forward-thinking brands have already begun securing premium positioning during the upcoming summer slate, which features several anticipated franchise installments and original blockbusters expected to drive record attendance throughout our circuit.
The combination of Eid al-Adha and summer blockbuster season creates a perfect storm of audience engagement. For advertisers seeking meaningful consumer connections in an increasingly distracted marketplace, our cinema network offers the rare combination of attention, impact, and contextual relevance that simply can’t be replicated elsewhere.
Marketing leaders are invited to contact our Motivate Val Morgan sales team to discuss how we can secure premium positioning for their brands across our extensive cinema circuit during this exceptional convergence of cultural celebration and entertainment.
Source: CinePlan & CinemaMeasure: Eid Cinema Advertising report
CinemaCon 2025, held from March 31 to April 3 at Caesars Palace in Las Vegas, once again brought together the global theatrical exhibition community. This year’s convention featured exclusive film previews, major studio announcements, and recognition of industry achievements.
Here are all the trailers released at CinemaCon 2025—the must-see moments, surprises, and sneak peeks that have fans buzzing.
Sony’s presentation unveiled Sam Mendes’ ambitious four-part Beatles project (slated for April 2028) and provided updates on Spider-Man franchises, including “Beyond the Spider-Verse” and “Spider-Man: Brand New Day.” The studio also eased adult-oriented films like Darren Aronofsky’s Caught Stealing and Kogonada’s A Big Bold Beautiful Journey.
Karate Kid: Legends – May 30th
28 Years Later – June 20th
Demon Slayer: Kimetsu no Yaiba Infinity Castle – September 12th
Anaconda – December 25th
Neon presented before the State of the Industry address, highlighting two upcoming releases: a body-horror film starring real-life couple Dave Franco and Alison Brie, and a Stephen King adaptation about Charles ‘Chuck’ Krantz.
The Life of Chuck – June 6th
Together – August 1st
Lionsgate shifted focus from the anticipated Michael Jackson biopic to “Ballerina,” the Ana de Armas-led John Wick spin-off. The studio announced plans to expand the Wick universe with a Donnie Yen spin-off, an animated prequel, and “John Wick 5” with Keanu Reeves. Literary adaptations featured prominently, including works by Stephen King and a new film from John Car.
Hurry Up Tomorrow – May 16th
Ballerina – June 6th
The Hunger Games: Sunrise on the Reaping – November 20th, 2026
Warner Bros. showcased the opening ten minutes of “F1,” positioning it as a summer standout. Their presentation also featured glimpses of P.T. Anderson’s latest film and the horror title “Weapons.” DC Studios leaders James Gunn and Peter Safran discussed “Superman” with cast members David Corenswet, Rachel Brosnahan, and Nicholas Hoult.
Sinners – April 18th
Final Destination: Bloodlines – May 16th
F1 – June 27th
Superman – July 11th
One Battle After Another – September 26th
In just two years, Angel Studios has disrupted traditional film distribution with its audience-driven approach through the Angel Guild, which now has over 1 million active members. The studio is expanding internationally and previewed several upcoming titles, including “Zero A.D.,” a Biblical epic from “Sound of Freedom” director Alejandro Monteverde.
King of Kings – April 11th
The Last Rodeo – May 23rd
Sketch – August 6th
Truth & Treason – October 17th
Zero A.D. – December 19th
Universal’s presentation highlighted sequels and established franchises, including “Jurassic World Rebirth” and the second part of “Wicked.” The studio showcased Blumhouse horror sequels “Five Nights at Freddy’s 2” and “M3gan 2.0,” alongside family films like “How to Train Your Dragon.” Teases of future projects included works from Steven Spielberg and Christopher Nolan’s “The Odyssey” (2026).
The Phoenician Scheme – May 30th
How to Train Your Dragon – June 13th
M3GAN 2.0 – June 27th
Jurassic World Rebirth – July 2nd
Five Night’s at Freddy’s 2 – December 5th
Shrek 5 – December 23rd, 2026
Making their CinemaCon debut, Amazon MGM Studios emphasized their commitment to theatrical releases with plans for 14 films in 2026. Their presentation featured well-received trailers for “Project Hail Mary” and “Is God Is,” spanning adult dramas, high-concept films, and the tentpole “Masters of the Universe.”
The Accountant 2 – April 25th
Paramount showcased a varied 2025 slate led by “Mission: Impossible – The Final Reckoning” and Edgar Wright’s “The Running Man.” Family offerings included “Smurfs” and “The SpongeBob Movie: Search for SquarePants,” alongside adult comedies “Roofman” and “The Naked Gun.”
Mission: Impossible – The Final Reckoning – May 23rd
Smurfs – July 18th
The Naked Gun – August 1st
Disney’s presentation featured the live-action “Lilo & Stitch,” the first trailer for “Tron: Ares,” and animated features including Pixar’s “Elio” and “Zootopia 2.” Marvel Studios previewed “Thunderbolts*” and “Fantastic Four: First Steps,” while 20th Century and Searchlight divisions showcased adult-oriented fare including a Bruce Springsteen biopic. The presentation concluded with a 3D preview of “Avatar: Fire and Ash.”.
Thunderbolts* – May 2nd
Lilo & Stitch – May 23rd
Elio – June 20th
The Fantastic Four: First Steps – July 25th
Freakier Friday – August 8th
Tron: Ares – October 10th
Avengers: Doomsday – May 1st, 2026
Source: BOXOFFICEPRO , CinemaCon 2025
Moviegoers as well as frequent streamers still prefer the theatrical movie experience over streaming for highly anticipated films
The cinematic experience remains unrivaled in its ability to captivate audiences with immersive storytelling on a grand scale. A recent Screenvision/VAB study confirms what industry experts have long understood: dedicated moviegoers and frequent streamers alike continue to prioritize theatrical releases for their most anticipated viewing moments. For brands looking to make an impact, this is a golden opportunity.
There’s a reason why advertisers have long turned to cinema: it’s a setting where audiences are fully engaged, distraction-free, and emotionally connected. And the numbers back it up. According to the Screenvision Custom Study, both frequent moviegoers and streamers agree that theaters deliver the most exciting, memorable, and immersive experiences for their anticipated content:
For advertisers, this concentrated attention represents invaluable currency in an increasingly fragmented media landscape. Cinema advertising sidesteps the challenges of divided attention, offering instead a rare opportunity to engage with audiences in a state of complete receptivity.
Cinema’s enduring appeal transcends mere content consumption—it offers a deliberate social and cultural experience that streaming cannot replicate. The communal nature of theatrical viewing creates a shared emotional journey that resonates deeply with audiences.
The same study revealed key factors driving theatrical preference:
This powerful combination of cultural significance and sensory immersion creates exceptional conditions for effective advertising, with messages benefiting from heightened emotional receptivity and enhanced recall.
As the industry approaches the summer season, cinema advertising reaches its zenith of effectiveness. The coming months represent the premier period for theatrical attendance, offering advertisers access to the year’s most anticipated films and the largest, most diverse audiences.
This summer’s impressive lineup features prestigious releases spanning multiple genres, including the eagerly anticipated “Marvel Thunderbolts*,” the reimagined “Superman,” the latest “Jurassic World” installment, “Mission: Impossible – The Final Reckoning,” “Karate Kid: Legends,” “How to Train Your Dragon,” “F1,” “The Fantastic Four: First Steps,” and numerous other high-profile productions.
This summer’s blockbuster lineup will draw diverse audience segments across demographics, offering advertisers precision-targeted opportunities rarely found in other media. Cinema stands alone in its ability to consistently deliver Super Bowl-caliber impressions week after week throughout the season. As these cultural events draw unprecedented crowds, brands leveraging cinema advertising will capture a unique combination of focused attention and emotional engagement—reinforcing cinema’s position as the premier platform for high-impact brand messaging when audiences are most receptive.
Source: Screenvision, VAB, Google
Asmaa Nowbandi from AUD selected as the UAE representative for the 2025 Cannes Lions Roger Hatchuel Academy
The Roger Hatchuel Student Academy, founded in 2003—an initiative of the Cannes Lions Festival of Creativity—offers students interested in pursuing a creative path in advertising, a unique learning experience designed to help launch their careers. Selected students learn first-hand from the world’s greatest brands, creative minds, and industry leaders during the Cannes Lions International Festival of Creativity in Cannes, France.
As the official UAE representatives of the Cannes Lions Festival, Motivate Media Group and Motivate Val Morgan are thrilled to announce that Asmaa Nowbandi, a Bachelor of Fine Arts (BFA) student majoring in Visual Communication with a focus on Graphic Design at the American University in Dubai (AUD), has been selected to represent the UAE at the prestigious Cannes Lions Roger Hatchuel Academy 2025.
Asmaa was one of three finalists chosen from a competitive pool of 18 applications from across universities in the UAE this year. The other finalists, Dareen Issa from University of Wollongong Dubai and Maria Semaan from American University in Dubai, also received exceptional feedback from the Cannes selection panel. All applications were reviewed by the Roger Hatchuel Academy Jury Panel – a diverse mix of global experts from reputed educational institutions, the industry, and related creative fields.
Commenting on her selection, Asmaa said, “My interest and joy in arts and travel started at a young age and never stopped. My passion only grew, and I always knew I wanted to design and have part of my work require traveling to different places, trying new things, and working in diverse environments. With the news of my selection, I realized how important of a step I will be taking toward my future career plan. I am beyond grateful for the continuous support and guidance from my professor, Dina Faour, the university, and my family. It is a great honor to represent my country in the prestigious Roger Hatchuel Academy, and I look forward to making the most out of it.”
Dina Faour, Professor of Advertising, Department of Visual Arts at the American University in Dubai, shared her excitement, stating, “We are incredibly proud of our student for being selected to represent the UAE at the Roger Hatchuel Academy at the Cannes Lions Festival. This is an outstanding international educational opportunity where students get to learn directly from industry legends and award winners—seeing firsthand how they think, create, and set the standards for the year ahead. It’s an optimal learning experience that bridges theory and practice in a way no classroom can. At AUD, we take immense pride in our commitment to nurturing top creative talent; this marks our ninth year of representing the UAE at this prestigious academy—an achievement that speaks to the strength and caliber of our program. We are also thankful to Motivate Media Group, Motivate Val Morgan and to the Cannes Lions Festival; they all continue to elevate creative minds and help open doors to global opportunities.”
Ian Fairservice, Managing Partner of Motivate Media Group, added, “Congratulations to Asmaa Nowbandi from American University in Dubai for her outstanding achievement in being selected to represent the UAE at the 2025 Cannes Lions Roger Hatchuel Academy. I am sure Asmaa will make the most of this invaluable experience and return with fresh perspectives that will further elevate the UAE’s vibrant creative landscape.”
The Roger Hatchuel Academy class of 2025 will bring together 30 students from around the world for an immersive program that delves into the creative industry’s most pressing topics.
The Academy will run parallel to the Cannes Lions Festival from 15th–20th June 2025 in Cannes, France.
Motivate Media Group and Motivate Val Morgan extend their warmest wishes to Asmaa Nowbandi as she embarks on this transformative journey, and we hope her experience and learnings at the Roger Hatchuel Academy will create a positive impact and contribute to her future endeavors in the industry.
